Cult films by acclaimed director screen at Trustees to raise funds for Keith Kozel
THE YEARS-LONG effort by the extended arts and rock 'n’ roll community in Savannah to help Keith Kozel get a kidney transplant is entering a new and critical phase. As of this writing, Kozel—frontman for two legendary Savannah bands, GAM and Superhorse—has found a kidney donor and the transplant surgery is scheduled very soon.
Room should not be missed, and for all the unease it stirs, it’s ultimately a powerful tale of that indestructible love that can exist between mother and child.
The crispness of these visuals is matched by the smartness of the script, which includes all the relevant touchstones (the baseball mound, the Red Baron, the adults’ unintelligible gibberish, “It was a dark and stormy night”) while adding some delightful shout-outs to the franchise’s storied history.
A perfectly engaging 120 or so minutes is then run into the ground for a wince-inducing final half-hour of unfortunate developments.
Saorise Ronan is a truly gifted actress, a master of subtlety and vulnerability; a simple concentrated, zone-out stare speaks volumes of Eilis’s struggle finding her place.
Diary shows that sex isn’t always pretty, but it doesn’t have always be tragic, either.
Less like the Old South and more like the Dirty South, where the drug trade dominates the economy of these dead-end towns full of trailers and sick people who can’t pay their medical bills, where aimless white boys like protagonist Kermit (Chris Zylka) dip snuff while listening not to country music but to hip hop.
I longed for complexity, particularly in the villainous men; rather, we’re presented with bad guys and good women, detracting from a true understanding of the time and conditions, vastly oversimplifying.
In addition to simply being a finely and tastefully crafted film, it doesn’t trivialize the abuse through maudlin sentimentalism, preferring instead to let story and characters largely speak for themselves without emotional manipulation.
At no point do the film’s special effects, allowing Tom Hardy to play both roles, interfere. Very quickly, within the first minute or two, you become completely immune to Hardy being on screen as both identical twin Kray brothers at the same time.
Scripter Peter Straughan packs the proceedings with numerous moronic interludes, the sort more at home in a broad Will Ferrell comedy than an ostensibly hard-hitting political drama.
A talk with producer Alison Owen about the Festival opener
'When we first started development six years ago, it was quite a hard, because feminism was not nearly such a sexy subject.'